標(biāo)題: Titlebook: Blake 2.0; William Blake in Twe Steve Clark (Visiting Professor),Tristanne Connoll Book 2012 Palgrave Macmillan, a division of Macmillan Pu [打印本頁] 作者: 喝水 時間: 2025-3-21 19:37
書目名稱Blake 2.0影響因子(影響力)
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書目名稱Blake 2.0網(wǎng)絡(luò)公開度
書目名稱Blake 2.0網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Blake 2.0被引頻次
書目名稱Blake 2.0被引頻次學(xué)科排名
書目名稱Blake 2.0年度引用
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書目名稱Blake 2.0讀者反饋
書目名稱Blake 2.0讀者反饋學(xué)科排名
作者: 提名的名單 時間: 2025-3-21 20:54
https://doi.org/10.1007/978-3-658-05436-6n Huston such as . (1951) — to see such critical re-evaluations of specific genres, such as the western, from the 1950s onwards, with movies from the period of the Korean war being increasingly infused with Cold War anxieties (de Bona 57–8).作者: 死亡 時間: 2025-3-22 01:41
https://doi.org/10.1007/978-3-658-05436-6en word piece, ., Moore follows Blake on a spiritual journey, ‘out of light and into history’, and references to Blake, the four-fold city, and Jerusalem also appear in an earlier performance, .. A pictorial biography of Blake will feature in the forthcoming ..作者: Coma704 時間: 2025-3-22 08:19 作者: 欲望 時間: 2025-3-22 08:48 作者: 突襲 時間: 2025-3-22 14:28 作者: 不給啤 時間: 2025-3-22 19:37
e. This volume takes Blake 2.0 as an interactive concept, examining digital dissemination of his works and reinvention by artists, writers, musicians, and filmmakers across a variety of twentieth-century media.978-0-230-36668-8作者: magnate 時間: 2025-3-22 23:12
Vicki Harman,Benedetta Cappellinilegacy in their art or literature, Blake scholars have been more reluctant to admit the same, or even to recognize any affinities whatsoever between Blake and Surrealism.. In view of this discrepancy, this chapter aims to trace the Surrealists’ use of Blake’s art, and Surrealism’s oddly neglected yet long-lasting counter-impact on Blake studies.作者: –FER 時間: 2025-3-23 04:08 作者: arcane 時間: 2025-3-23 08:53
Leisure and the Informal Economyst, Blake’ (. 322). But why Blake? And why the 1960s and 1970s? Given his modest early reputation, why should Blake, more than 130 years after his death, become so prominent in the popular imagination that he was able to rub shoulders with Lao-tse, Christ, Marx, and indeed a host of other luminaries?作者: heartburn 時間: 2025-3-23 10:25
‘Rouze up O Young Men of the New Age!’: William Blake, Theodore Roszak, and the Counter Culture of tst, Blake’ (. 322). But why Blake? And why the 1960s and 1970s? Given his modest early reputation, why should Blake, more than 130 years after his death, become so prominent in the popular imagination that he was able to rub shoulders with Lao-tse, Christ, Marx, and indeed a host of other luminaries?作者: 動脈 時間: 2025-3-23 17:53 作者: 褪色 時間: 2025-3-23 18:49 作者: refine 時間: 2025-3-24 01:04 作者: 反抗者 時間: 2025-3-24 03:29
Digital Blake 2.0ld Blake have approved of the William Blake Archive?’ (29). The Archive has itself been the focus of enormous theoretical reflection. The ‘Articles about the Archive’ section on the Archive website lists 54 journal articles, reviews, and miscellanea that either discuss the archive or use its resourc作者: 鞏固 時間: 2025-3-24 09:19
‘Rob & Plunder … Translate & Copy & Buy & Sell & Criticise, but not Make’: Blake and Copyright Todayt unexpected places. For the exploration of copyright and Blake’s works covered within this chapter, I would like to begin with two examples of unexpected encounters with Blake that are separated by more than a century.作者: 牢騷 時間: 2025-3-24 12:36 作者: 晚來的提名 時間: 2025-3-24 15:07
Celebration and Censure: William Blake and Stories of Masterliness in the British Art World, 1930–59 his true aesthetic personality, temperament, and identity. From at least the early part of the twentieth century, it is possible to isolate a number of dominant versions of Blake’s artistic sensibility: the Mahlerian romantic who uses colour, form, and texture to paint a joyous world bursting with 作者: 鳥籠 時間: 2025-3-24 23:05
Blake and Surrealismo systematic research on the subject, and the story seems to have only been told from one aspect. While the Surrealists were happy to mention Blake’s legacy in their art or literature, Blake scholars have been more reluctant to admit the same, or even to recognize any affinities whatsoever between B作者: 透明 時間: 2025-3-25 02:38
‘The Sculptor Silent Stands before His Forming Image’: Blake and Contemporary Sculpturecultural and aesthetic importance of sculpture, in the eyes of his fellow acade micians. Part of Flaxman’s strategy was to remind the Academy of the ideological battles fought by the painters and sculptors of the Italian Renaissance to secure their respective arts’ intellectual parity with poetry. F作者: AVOID 時間: 2025-3-25 03:54 作者: 舊式步槍 時間: 2025-3-25 08:24 作者: Crayon 時間: 2025-3-25 15:00 作者: 四指套 時間: 2025-3-25 17:36 作者: 外來 時間: 2025-3-25 23:46
Blake Set to Musicional adjunct to poetry. A number of the poems are called ‘Song’ — but this is just ‘the imaginary conjuring of songs which are not songs’ (Hoagwood xiii).. However, for the mature Blake, music and musicality are basic to his vision of art. His early biographer, Allan Cunningham, describes how Blake作者: lattice 時間: 2025-3-26 02:53
‘Only the wings on his heels’: Blake and Dylan / That round the circle of the world would fly!’ (‘An Imitation of Spenser’ E421). The narrator of a ‘Song’ from the same precociously early selection, ., proclaims, ‘My feet are wing’d, while o’er the dewy lawn, / I meet my maiden, risen like the morn’ (E416). A young Dylan Thomas confides to Pame作者: 彎曲的人 時間: 2025-3-26 07:41
Blake 2.0: Introductionr ‘pass away … to tenfold life’ (3:9–11, E5). The reinventions of twentieth-century Blake, as well as his ongoing regeneration within Web 2.0 media, require a more sustained examination of what this second life entails — Blake 2.0 alongside Blake 1.0.作者: Assault 時間: 2025-3-26 11:52
Mirrored Text/Infinite Planes: Reception Aesthetics in Blake’s olub acknowledges the inherent difficulties in clearly separating these terms: ‘Nonetheless, the most frequent suggestion has been to view . as related to the reader, while . is supposed to pertain to textual aspects — an arrangement that is not entirely satisfactory by any account’ (xi). In the cur作者: 猛然一拉 時間: 2025-3-26 13:37
Digital Blake 2.0mative power of digital literary scholarship to overcome previous “technological and economic obstructions”’. As a tool for scholars, there can be no doubt that the William Blake Archive has shown the centrality of Blake in debates over the future of digital literary study.作者: overhaul 時間: 2025-3-26 18:38
‘New matter’: Mona Wilson’s , 85 Years Onchapter to capture something of the troubling and hitherto unexplored complexity of Mona Wilson’s ‘popular’ 1927 biography of Blake. If Wilson’s . foreshadows James King’s subjecting of Blake to fashionable theory,. it should be recalled that Wilson’s is also the last Blake biography to feature sign作者: CHOP 時間: 2025-3-26 21:20 作者: 惹人反感 時間: 2025-3-27 02:12
‘The Sculptor Silent Stands before His Forming Image’: Blake and Contemporary Sculpturecreated by the Royal Academy specifically for Flaxman (see Flaxman xxv and fn.) Rather, Flaxman’s arguments for reassessing the historical, theoretical, and aesthetic value of sculpture were necessary because during the previous two centuries, the tripartite ., that is the comparison between the sis作者: Ganglion 時間: 2025-3-27 06:40 作者: commute 時間: 2025-3-27 10:25 作者: 戰(zhàn)役 時間: 2025-3-27 16:50 作者: certain 時間: 2025-3-27 21:43
Chris Rojek (Senior Editor in Sociology)olub acknowledges the inherent difficulties in clearly separating these terms: ‘Nonetheless, the most frequent suggestion has been to view . as related to the reader, while . is supposed to pertain to textual aspects — an arrangement that is not entirely satisfactory by any account’ (xi). In the cur作者: SPER 時間: 2025-3-28 01:27 作者: 粗糙濫制 時間: 2025-3-28 02:46
Introduction to a New Ageing Population,chapter to capture something of the troubling and hitherto unexplored complexity of Mona Wilson’s ‘popular’ 1927 biography of Blake. If Wilson’s . foreshadows James King’s subjecting of Blake to fashionable theory,. it should be recalled that Wilson’s is also the last Blake biography to feature sign作者: 類似思想 時間: 2025-3-28 08:26 作者: Herd-Immunity 時間: 2025-3-28 12:56 作者: EXALT 時間: 2025-3-28 15:16 作者: Migratory 時間: 2025-3-28 21:28
Indikatoren: Ableitung und Messung,, as well as ‘the Rimbaud of Cwmdonkin Drive’ (as Thomas describes himself in a letter to Vernon Watkins; 548). Influences can obviously be composite and far from mutually exclusive. Though the French poet is explicitly designated as precursor, the ‘dancing bullet’, an oxymoronic expression of exube作者: idiopathic 時間: 2025-3-29 00:15
Steve Clark (Visiting Professor),Tristanne Connoll作者: 階層 時間: 2025-3-29 07:04 作者: 完成 時間: 2025-3-29 11:19
Blake Set to Musicional adjunct to poetry. A number of the poems are called ‘Song’ — but this is just ‘the imaginary conjuring of songs which are not songs’ (Hoagwood xiii).. However, for the mature Blake, music and musicality are basic to his vision of art. His early biographer, Allan Cunningham, describes how Blake’s poetry and art were one with his music:作者: acrobat 時間: 2025-3-29 12:58 作者: Proclaim 時間: 2025-3-29 19:12
https://doi.org/10.1057/9780230366688aesthetics; culture; Digital Media; film; Great Britain; media; technology; time; Tradition; William Blake; Br作者: 儲備 時間: 2025-3-29 21:38
Palgrave Macmillan, a division of Macmillan Publishers Limited 2012作者: sperse 時間: 2025-3-30 02:07 作者: 嘲笑 時間: 2025-3-30 07:48
Warwick Studies in the European Humanitiest unexpected places. For the exploration of copyright and Blake’s works covered within this chapter, I would like to begin with two examples of unexpected encounters with Blake that are separated by more than a century.作者: 獨(dú)裁政府 時間: 2025-3-30 09:09 作者: Ordeal 時間: 2025-3-30 12:45
Chris Rojek (Senior Editor in Sociology)wson has recently observed, the self may be conceived as a phenomenological mineness, but this bears little relation to traditional, metaphysical conceptions of selfhood. These are also difficult to reconcile with contemporary debate on the implications of technology, specifically digitalization, to
